Bach: Violin Concertos – Johann Sebastian Bach, Verschiedene Interpreten - part 2

Yo-Yo Ma - Part 1

Discover Weekly Archive - Part 1

Classical Strings

Mellow Cello

bachcello

This Is JS Bach

Camille Saint-Saëns - Cello Concerto No. 1 In A Minor, Op. 33 - I. Allegro Non Troppo

Courante from Bach's cello suite in D minor BWV 1008 played on bass clarinet by Pierpaolo Romani

03 J.S. Bach - 2nd Cello suite BWV 1008 in D minor - Courante

Movie Night – The Greatest Film Themes

Richter: On the Nature of Daylight

Cover

Robert Moran
Trinity Requiem

Tray Card

Trinity Requiem
(Commemorating the 10th Anniversary of September 11, 2001)
1.	Introit 	4:33
2.	Kyrie	4:56
3.	Psalm 23	3:42
4.	Offertory	2:58
5.	Sanctus	3:33
6.	Agnus Dei	2:56
7.	Pie Jesu	2:28
8.	In Paradisum	4:44
The Trinity Youth Chorus, Trinity Wall Street
Robert Ridgell, conductor

9.	Tears Into Dust	6:40
Latvian Choral Ensemble
Vladimir Veretsikoff, conductor

Seven Sounds Unseen
10.	1	3:16
11.	2	14:06
12.	3	5:14
Musica Sacra
Richard Westenburg, conductor

13.	Notturno in Weiss	8:12
The Esoterics
Eric Banks, conductor

Total: 67:51




TRINITY REQUIEM (2011)
Commemorating the 10th Anniversary of September 11, 2001

The Trinity Youth Chorus
Trinity Wall Street
conducted by Robert Ridgell

Executive Producer: Linda Hanick
Engineering: Leonard Manchess, Tom Durak (New York)

Melissa Attebury, Associate Director
Wesley Chinn, Assistant
James Blachly, Assistant
Eric Dudley, Assistant

Choir
Kiana Bartholomew
Luthian Brackett*
Chloé Combs
Cecilia Gault
Johanna Go
Jalene Lipowitz
Hannah O’Sullivan
Molly Quinn*
Melanie Russell
Hannah Sklover
Virginia Warnken*
Jelani Wiltshire
Peter Yao
Allison Zhao

*Trinity Choir Member

Instrumentalists
Alexander Hermann, Organ
Jennifer Hoult, Harp
Aminda Asher, Cello
Veronica Parrales, Cello
Sara Wolfe, Cello
Miho Zaitsu, Cello

The Trinity Youth Chorus is the voice of youth in Lower Manhattan, providing a unique musical environment for young singers. A collective of community choirs, the chorus offers music education and performance opportunities for girls and boys, ages 5-18. The program emphasizes the social aspect of singing, brings together collaborative neighborhood partners, and teaches the importance of building bridges within the community.

Notes on TRINITY REQUIEM

When Robert Ridgell asked me to compose the TRINITY REQUIEM for his youth chorus as part of the 10th Anniversary of Sept. 11th, 2001, a commissioned score, my immediate reaction was “No, Robert.... having a youth choir sing a Requiem strikes me as slightly ghoulish and a bit unnerving. Let me think about this”. Directly after this conversation, I began to get ‘flash-backs’ of numerous stories I had heard throughout my life of children who had lost their entire families from plagues, wars, endless catastrophes, vicious governments, etc. I told Rob that I had heard of a specific story of a little girl in Kosovo, maybe no more than 8 years old, whose parents and brother of age 6 had been murdered; she was found daily at the grave of her brother, and had completely lost the ability to speak. “Rob, this is what ‘our’ Requiem is about, these thousands and thousands of kids left with nothing. A friend of mine in England, as a little child, was sent off to Wales during the Nazi bombings of London. He returned to London at the end of the war to find that both his parents had been killed. I was speechless. Luckily we have the ability to attempt some expression of grief through our music. Let’s get going with this project now”.

9/11/2001?   Most of the voices in this Trinity Youth Chorus are of young people born in 2000. The World Trade Center attack would mean nothing to them... But knowing and seeing on television children’s lives destroyed time and again would have a deep impact. We recorded the Trinity Requiem in November 2010; a very intense and moving experience for everyone involved. At the conclusion of In Paradisum, many of us were in tears. One note concerning the Offertory: I based this short movement upon the bass line of the famous Pachelbel Canon, using that organ statement for my own musical canon for the four celli. The first four notes of the Pachelbel ‘bass line’? Where had I heard those before?  They are used as the  “Parsifal” chimes, courtesy of Mr. R. Wagner. And even with our concern for eliminating New York City street sounds during this recording, we couldn’t totally succeed. During the opening of the Offertory, one hears a siren passing the church. We decided that this ‘alarm’ was, although ‘not in the score’, worth keeping as a reminder that the World Trade Center, ten years before, had just been behind Trinity.

Tears Into Dust (2004)
Latvian Choral Ensemble
Vladimir Veretsikoff, conductor

Looking backward... I cannot see the ancients of days.  Looking forward.... I cannot see ages yet to come.  Only Heaven and Earth have remained, and will remain forever...I am alone, I grieve. I drop tears into the dust.
– Chen Tzu-ang
Program notes for SEVEN SOUNDS UNSEEN (1992)

Back in 1992, as a commission from the Catalyst Series of BMG, I composed SEVEN SOUNDS UNSEEN for 20 solo voices for Richard Westenburg and his Musica Sacra.  Two short sections surround the extended middle part, which uses text-fragments from many letters of friend John Cage to me over a period of 30 years (he had given me the original manuscript of his book, “M”, and I ‘dipped’ into some of these pages, taking statements that had such a musical ‘ring’ I had to include them).   Each of the three parts asks for a different stage arrangement of the various voices for no other reason than to move sounds around for the actual recording.  After I completed the score and sent it on its way to Westenburg (actually hand-delivered to the producer of the recording, Andre Gauthier), I looked forward to attending the actual recording and hearing this work for the first time “outside of my head” and with hopes that what was ‘internally heard’ would manifest itself in the studio performance.   The entire day, spent in the studio, was amazing from start to finish, the singers producing such magic.

Producer:  Andre Gauthier
Engineer:   Anthony Salvatore

Notturno in Weiss (2006)	

The Esoterics, Eric Banks, director. With guest harpists Alexis Odell and Melissa Walsh 
(Notturno in Weiss also appears on their album Sonettaria, Terpsichore Records. www.TheEsoterics.org)

Anne Dame
Anthony Balducci
Betsy Bæskens
Brad Fanta
Curtis Man
Dan Luethy
Doug Rank
Erin Harlan
Gretchen Hubbert
Jamie Balducci
Jennifer Gosnell
Jeremiah Oliver
Jessica Spears
Jim Peterson
Kathea Yarnell
Keith Horlock
Kevin Fansler
Lorri Froggét
Maria Drury
Mary Wieneke
Merideth Burness
Michæl Seidel
Mitchell Baier
Rick Sipe
Sam Beckert
Sean Glenn
Shawna Avinger
Sheri Doyle
Steve Shelton
Vanessa Ament
Whitney Wishart
Will Thayer-Daugherty

Recording engineer: Rick Lyman
Recording producer: Brian Fairbanks
Recording editor: Al Swanson

Notturno in Weiss [Nocturne in white] (2006)
Poem by Christian Morgenstern
Translated by Eric Banks

Die steinerne Familie,
The family of stone,
Aus Marmelstein gemacht,
Fashioned from marble,
Sie kniet um eine Lilie,
Kneels unto a lily,
In totenstiller Nacht.
In the deathly still of night.

In totenstiller Nacht
[textless]

Der Lilie Weiß ist weicher
The white of the lily is softer,
Als wie das Weiß des Steins,
Than the white of the stone,
Der Lilie Weiß ist weicher,
The white of the lily is softer,
Doch das des Steins ist bleicher
Yet that of the stone is paler
Im Weiß des Mondenscheins.
In the white of the moonlight.

Die Lilie, die Familie,
The lily, the family,
Der Mond in sanfter Pracht,
The moon in gentle splendor,
Sie halten so Vigilie,
They each hold their vigils,
Wetteifernde Vigilie, 
Their emulating vigils,
In totenstiller Nacht.
In the deathly still of night.

BIO

Robert Moran has traveled many musical paths since 1957 when he began his study of 12-tone music in Vienna with Hans Erich Apostel and completed his Masters with Luciano Berio and Darius Milhaud. He has composed for solo instruments and intimate chamber groups; created musical compositions incorporating 100,000 performers, radio and television stations, skyscrapers, and airplanes; and has collaborated with Phillip Glass to compose minimalist opera scores. Moran compositions range from the absurd theatre piece Divertissement Number One (1967), in which performers react to the sight and sound of popcorn popping, to the sinister yet funny Alice in Wonderland (2011) for the Scottish Ballet.

Throughout his career Moran has been careful not to ally himself with any specific school of composition. Musicologist and critic Walter Simmons noted that Moran “has passed through most of the ‘isms’ that have comprised the contemporary music landscape of the past 50 years.” This freed him to explore whatever musical form interested him at the moment, and his numerous musical excursions led to the development of his unique style.

The 2011 Ruhr Triennale, Oberhausen, Germany commissioned Moran's BUDDHA GOES TO BAYREUTH, composed for two choruses and two string orchestras, conducted by Rupert Huber.  In 2012 Ballet West will premiere THE LOTTERY, based upon the short story of Shirley Jackson and choreographed by Val Caniparoli.

Also by Robert Moran on innova:
Open Veins (627)
Mantra (714)
Cabinet of Curiosities (792)


Bob Moran: Trinity Requiem  In Paradisum

Johann Sebastian Bach - The Goldberg Variations BWV 988

"1. Movement" from "Brandenburg Concerto No. 3 in G major BWV 1048" by Johann Sebastian Bach

"2. Air" from "Overture (Suite) No. 3 in D major BWV 1068" by Johann Sebastian Bach

Essential Yo-Yo Ma

Wachet auf, ruft uns die Stimme, BWV 645

The Knot Collection of Ceremony & Wedding Music selected by The Knot's Carley Roney

Orchestral Suite No. 3 in D Major, BWV 1068: II. Air

Musical Banquet

Dowland: Lady Rich, Her Galliard

Sisask : Starry Sky Cycle

Starry Sky Cycle Op.52 - Pleiades : 17. II Maja

Édouard Lalo: Cello Concerto in D minor Movement I

CD Audio

ma-Bach-Cello Suite No.2 BWV 1008 Courante

Cello Moods

Rêverie, CD 76 (Arr. Cullen for Cello and Orchestra)

Bach- Cello Suite No.2 BWV 1008 Menuet 1 and 2

Bwv988 The Goldberg Variations/Variation 18 measures 18-21

Bwv846-869 The Well Tempered Clavier Book 1/WT1_7A measures 12-15

Cantata, BWV 208: Schafe können sicher weiden

DG KIM, Cello, Piano and Conductor

Haydn: Cello Concerto No. 1
Dvorak (arr. Kreisler, orch Kim): Songs my Mother Taught Me
Mozart: Piano Concerto No. 24
Shostakovich: Piano Concerto No. 2, Mvt. 2

02 Cello Concerto No 1 In C Major, Hob VIIb 1 - Adagio   FRANZ JOSEPH HAYDN

The Well-Tempered Clavier (German: Das Wohltemperierte Klavier), BWV 846–893, is a collection of solo keyboard music composed by Johann Sebastian Bach. He first gave the title to a book of preludes and fugues in all 24 major and minor keys, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study." Bach later compiled a second book of the same kind, dated 1742, but titled it only "Twenty-four Preludes and Fugues." The two works are now usually considered to make up a single work, The Well-Tempered Clavier, and are referred to respectively as Books I and II. The Well-Tempered Clavier is generally regarded as one of the most influential works in the history of Western classical music.

Bach: Prelude & Fugue #7 in E flat major, BWV 852 from Well-Tempered Clavier

Johann Sebastian Bachs vielleicht eindrücklichste Motette. Aus unserem Konzertprogramm 'Herr, wenn ich nur dich habe'

Johann Sebastian Bach - Jesu, meine Freude

The One As Two

The One as Two

Bach's Lullaby Cello Suite, Collection

Bach: Cello Suite No.2 in D minor BWV 1008 - IV. Sarabande

Colours Of Cello

Paradis: Sicilienne (Arr. by Söllscher)

Bach Cello Suite No. 2 - Sarabande

Emotions

3 Gymnopédies: No. 1, Lent et douloureux (Orch. Ducros) [feat. Jérôme Ducros]

Cello Concerto in D Minor: III. Introduction: Andante- Allegro Vivace

'Times go by Turns' is the highly anticipated follow-up to New York Polyphony’s 2012 release 'endBeginning'. The program features Masses by Thomas Tallis and William Byrd, as well as an enigmatic three-voice Mass setting by medieval English composer John Plummer. Three new works written for New York Polyphony by composers Gabriel Jackson, Andrew Smith, and the late Sir Richard Rodney Bennett complete the sequence.

Thomas Tallis - Mass for Four Voices - Sanctus (excerpt)

Bach: Cello Suite No.2 in D minor BWV 1008 - IV. Sarabande

Lullaby & Prenatal Band